Why You Should Bother with Screenwriter Contests and Film Festivals

Yup, it's been a while since we last posted anything...  but, I'm ready to get things back on track.  What can I say?  I want to get in touch with more horror screenwriters, filmmakers and festival folks.  I want to give more indie horror projects promotion and help get stuff out there.  I have to keep posting because we have to elevate this little sub-genre!

Anyhow, over the last, I don't know, year or so...  I've decided to make a serious effort to take this whole thing to another level and that's really why I haven't had time to post anything.  We've been working on launching a new website (more on that in the coming weeks), I've submitted some of my scripts to some screenwriting competitions and I've been trying to help produce some films.  The attempt to produce films has really taken a lot of time, but I'll tell you what... it's a huge learning experience.  One thing I've learned, and that I'd like to pass on to you, is that the film festivals and screenwriting contest are more important than you think.  Here's why...

There's a million ways to produce a film, but let's simplify this a bit - on one side, you have the equity financing model and on the other side, you have the debt financing model.  Equity financing means you have the equity - long and short, you've got the money and you're funding it yourself.  If that's your model, have at it.  You can write, direct and produce your project any way you'd like.  Debt financing, on the other hand, means that someone is willing to pay for the final product and you then get someone to lend you money against that promise to pay, so you can go and produce your film.  Most indie films are, at least in part, financed this way.  Yes, there's lots in between and that's a very simplistic view, but I'm making a point here, okay?  Now, how much this person is willing to pay for this unmade project depends on how you've packaged it up.  There's three major components: talent, script and director.  The big thing is talent... who are the actors?  If you're a friend of Brad Pitt's and he's willing to attach himself, boom... you're good to go.  Don't worry about the script.  However, most of us need to convince talent to come on board and we need to convince people that this is a good project.  So, that leaves the writer and director.  I'm going to concentrate on the writer here, as I feel the script is the true foundation of any project, but this is just as pertinent to the director.

You need a good script, where do you get it?  A script by a produced and/or working screenwriter is one thing, they have proven that they can write material that works.  I'm not talking about your micro-budget film that you produced and financed yourself, either.  I'm talking about a script from a working Hollywood screenwriter.  Get a script from one of them, you've got a good base.  However, getting a script from a well known or produced writer can be tough, especially if you're an unproven producer, so you might have to go a little further down the trough... or you might want to use your own material.  If that's the case, you need something that makes that script stand out, something that says, "this is worth taking a chance on".  So, what separates you from the rest of the pile of unproduced and non-working screenwriters?  See where I'm going with this, yet?  It's awards and accolades.  Where do you get those?  From winning film festivals and screenwriting competitions.  I've read bio's on writers that say things like, "quarter finalist in such and such" or "top 20% in this and that"...  and that makes the bio on the writer far more compelling than, "I think I'm a pretty good writer", which is what you're saying if you're unproduced, unpaid and haven't won any awards.  Don't kid yourself, most people won't read the script.  They'll read your bio, the logline and, if you're lucky, your outline.  You want to separate yourself from the pack?  These awards and accolades make a big difference.

So, do yourself a favor, enter the festivals and competitions.  Even if you're just producing and financing your own film - it helps sell it once it's done.  Also, on the writing side, if there's an option to get coverage, take it.  It costs you a bit extra, but you can learn where you can improve and you can learn what these guys want.  Then, you'll know what you need to do when you enter the next festival to get some accolades.  Once you have accolades, you're on your way to being a produced and working writer and/or director.

What do you think?  Got a different opinion?  Let me know!    

Tales From An Aspiring Screenwriter

It was about a year ago, maybe just over a year ago, when I made a public announcement that I was going to make a concerted effort to write one quality, sellable (in my mind) screenplay per year. I came to that conclusion after making a few short films, writing on the blog, working with other filmmakers and trying to figure out just how I was going to attack this whole "career in indie horror" thing. Truth be told, ever since film school, I've enjoyed the screenwriting process the most. That's where you get to puke all your ideas out, that's where you can be the most creative and that's where it all starts. That's where iconic characters and places like Camp Crystal Lake and Elm Street are born. That's the artsy, romantic side. The other side is, it doesn't cost a fucking thing, but time, to write a screenplay. Very economical. Anyhow, if screenwriting is to be my key... how do I open the door? The way I look at it, I've got three options.

The easiest, although costliest, is entering screenwriting contests. I used to be extremely weary of them, but the credible ones do offer a great service to unrepresented, up-and-coming and aspiring screenwriters. I've talked to a few contest winners and some of the people who run the contests and festivals and none of them have anything but good things to say about the process. Some of the contests give coverage and notes, which is invaluable, and I'll get a good idea of how I'd fare against other scripts in similar sub-genres. To navigate this properly, I'm going to have to research the different contests and festivals, then figure out which ones to enter. First off, I'll look at the contest itself. Is it horror specific or does it have a horror section? There's no way that my blood-soaked, serial killer homage to "Taxi Driver" is going to compete against "Gone With The Wind 2" in a generic screenwriting contest... Next thing to consider is, what kind of exposure will it get? No offense, but if I'm choosing between entering Shriekfest out of L.A. or Utah Bob's Horror Screenplay Contest, I'm picking Shriekfest. Granted, if Bob's is free, I might as well enter it, as well. So, what's my goal in this whole option? Well, really, it ain't about the prizes, it's about the exposure. If I can win one of these, chances are I'll have managers or agents calling me... and, not only that, I may get an award to hang my hat on, which may open some doors when dealing with my next option.

If I bomb at the contests or nothing comes out if it, the next logical step would be to attempt to get an agent or manager on my own. How's that going to happen? Two ways, I figure. One, the traditional way... I write up a query letter and I spam it out to every agent in town. I could also use one of those online deals, where you write the query letter and they spam it out to every agent in town. Basically, these guys approach all of the agencies and production companies and get them to say what they're interested in. Then, when you say, I've got a horror film and it's about X, Y and Z, the email goes out to all those who are interested in that sub-genre. Then, they'll request your query letter... then, they'll request a script. It's a good idea and something that I may try. The other way is the blood, sweat and tears way. I carefully read the trades to watch for which agents are representing other screenwriters who are writing similar stuff, then I approach them. The good thing about doing it this way is that I can cater my email or query letter directly to them. The bad thing is, the result, after a lot of hard work, may be the same. There is another option and it's something that I'm definitely going to explore... and that's getting in touch with anyone I know that has an agent and asking them if they could pass my stuff on to them. It's worth a try and is, generally, an easy in... if the guy you're asking likes you.

So, last option... I tank at the contests and no agent wants me. What's next? I guess the last attempt would be to approach independent production companies. Really, I don't think this is that much tougher than writing query letters to agents and managers. I mean, I'm not talking about approaching Warner Bros or Universal... I'm talking about approaching the small, private ones. Almost every actor in town has their own production company set up, I'd approach them. All it would take is a bit of research to find an actor or director that has done similar projects, or is interested in similar projects, then finding out if they have their own little production company. If they do, it won't take that much googling to figure out the address or a contact. Then, I just write up a query letter that's catered right to them and send it off. Then, sit back and grow old waiting for a response.

So, that's where I'm at right now. I'm going to finish up the last tweaks to the script and then I'm going to come up with my game plan. What do you think? Am I missing anything? Do you have any other advice for myself or anyone else who's in the same shoes as me? Let me know... please. In any case, I'll be sure to keep you posted on any news and how it all turns out.

Misconceptions About Hollywood - Getting An Agent

Well, I was planning on having an interview to share today, but... people are taking their time getting back to me. No worries, I've always got something on my mind to share. Today, I wouldn't mind talking about a misconception that most people have about Hollywood.

So, life isn't exactly black and white, but it's so much easier to explain when you break it down to one side versus the other, so I'm going to do just that. Let's look at Hollywood as those who are "IN" and those who are "OUT". People who are "IN" get work from studios, they have agents, managers and can get stuff done. They get meetings, they get paid and people know who they are. People who are "OUT" have day jobs that may or may not be related to what they want to do, but it certainly isn't where they want to be, they'd kill to have an agent or a manager work for them and they don't even care if they get paid for what they create, as long as it gets their name out there. Black and white, right? So, how do you go from the "OUT" to the "IN"? Really, that's what we all want, isn't it? First off, let me just say that the transformation won't happen over night. It can take years, decades, to slowly move from an "OUT" to an "IN". However, I figure once you're an "IN", it's yours to lose. When you're an "OUT", well... you're out. Not to tough to maintain that status. Now, there are lots of ways to get from an "OUT" to an "IN" and most people think the first move is getting an agent or manager to represent them.

Alright, so... I've just finished the first draft of my most recent screenplay. I've sent it off to a few trusted sources, then, after that, what do I do? Well, most screenwriters would write up a query letter to any and all agents that accept query letters and hope that someone gets back to them. Either that, or they'd submit their script to one of those online submission sites... spray and pray. Well, not only have a just finished my script, I'm also continuing to read "The Writer Got Screwed (but didn't have to)" and I just happened to come across an interesting chapter on how to get an agent or manager. In order, this is what they recommend: 1. get a recommendation from someone who knows you. 2. Submit to a screenwriting contest. 3. (and least recommended) submit a query letter to an agent.

I was halfway through my generic query letter to any and all agents when I read that. Then, I thought back... you know, I have had numerous agents and managers read my previous work, granted it was all to no avail, but I did get them to read it. How? Friends, friends of friends and networking. It really is the best way to get your shit read. I had even forgot about some of the people who read my stuff, I'm going to have to go back through some old emails and rediscover them. Really, if you ask anyone that you know who's in the industry, chances are you'll get lucky. "Hey, know any agents? I'd love to get my work in front of someone" Keep asking, it'll work, even if you're asking your Mom's friend, who's cousin works in catering for "The View". The second thing, the screenwriting competitions, is an interesting one. I didn't know it, but if you place in a contest, you'll probably be contacted by some young, aggressive agent. They're always looking for the next big thing and the competitions are a great place for them to search. I've never entered one of those competitions, but I may be with this most recent script.

Anyhow, there's some ideas for fellow members of the "OUT" crowd. Hopefully I'll have an interview ready for you on Friday. If not, I'm sure I can come up with something to blather on about.